6.4/10
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6 user 6 critic

I Graduated, But... (1929)

Daigaku wa detakeredo (original title)
Feeling the position to be beneath him, a college graduate turns down a receptionist job, but soon finds it necessary to fool his mother and fiancé into thinking that he is employed.

Director:

Yasujirô Ozu

Writers:

Yoshirô Aramaki, Hiroshi Shimizu (story)
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Cast

Cast overview:
Minoru Takada Minoru Takada ... Tetsuo Nomoto
Kinuyo Tanaka ... Machiko Nomoto
Utako Suzuki Utako Suzuki ... Mother
Kenji Ôyama Kenji Ôyama ... Sugimura
Shin'ichi Himori ... Tailor
Kenji Kimura Kenji Kimura ... Executive
Takeshi Sakamoto ... Secretary
Chôko Iida ... Landlady
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Storyline

Feeling the position to be beneath him, a college graduate turns down a receptionist job, but soon finds it necessary to fool his mother and fiancé into thinking that he is employed.

Plot Summary | Add Synopsis

Genres:

Comedy

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Details

Country:

Japan

Release Date:

6 September 1929 (Japan) See more »

Also Known As:

I Graduated, But... See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

(extant fragments)

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

Partially lost, only 12 minutes of the film survives today. See more »

Connections

Referenced in Ozuland: David Bordwell on Good Morning (2017) See more »

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User Reviews

 
Laws of Dramaturgy Discarded
26 November 2013 | by kurosawakiraSee all my reviews

A graduate is unable to find a job and tries to hide it from his immediate family. We only have a ten-something minutes long fragment of this, but it's still interesting as is. This film seeps with Ozu's signature sense of humanity, and let's keep our fingers crossed that someday somewhere they'll find the complete version and release it to the world.

The interesting part here is to see the skeleton without the fleshed sense of drama that is essential to most works of any piece. The framework itself works, all the more whetting one's appetite as to how the complete film would've been. The sensation of seeing something pan out so quickly is like stepping in a time warp of some sort — all the laws of dramaturgy and filmmaking are suddenly discarded, and we are given a film that's sort of a hyper-movie, almost like Welles or Marienbad, and we can piece it out ourselves, using the simplest referential context available to us: Ozu's filmography.


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